Project 2 – Locale (Research, Process & Final)

RESEARCH

Initially intending to research on Little Guilin, my studies of untouched parks led me to a rare find: Tampines Eco Green, a unique nature spot.

Here is my experience of studying TEG, compiled into one video:

The video is accompanied by the following text:

From the outside, TEG looks like any old forest, nothing like a park. No large signs, no gimmicks, just a pathway in hidden at the end of a canal, with a warning – no smoking.

When you enter, it’s flat grassland, no concrete pathways, shaded by large evergreen trees. Actually, all you see is green, there aren’t bright, colourful flowers, only wild tiny ones.

Then you spot a few unusual seats. They are made solely from tree stumps and parts. So are the signs. The bird hide is made from recycled tree parts too.

Further in, there is an eco toilet with a green roof. The only one in the park, that runs on a waterless disposal system. Combined with wood shavings, waste is broken down into compost underground.

At night, it’s pitch dark because there are no street lamps. It’s no wonder the park is unknown. A survey I did with a sample size of 200 locals concluded that only 1 in 6 Singaporeans know of the park’s existence.

According to my first hand observation and secondary research, these are the archetypes of people who visit the park: 38% of the visitors are birdwatchers. 35% are red faced, ex army men jogging through, trying to keep in shape. 19% of them are neighbourhood retirees who finally have the time but not the energy to stroll. 4% are kids whizzing through on oBikes and 3% are exploreSG Instagram photographers. So we’re left with 1%. That’s for the old man I read about in the news who offered a secondary school boy $2 to follow him into the park so he could do dirty things to him.

On a weekday, I spotted a lone bird watcher at the viewing platform. He had a tiny point and shoot camera and he was staring at a tree. He turned and told me, “I’ve been sitting here for hours waiting for the Black Bazaar, and you scared it away. Young people don’t notice these things because they aren’t looking.”

Me interviewing Vernon Alex, 70, bird watcher

And that’s what’s so special about Tampines Eco Green. Nature is hidden all around the park. You only see it if you are patient enough to look.

In fact, there are over 162 recorded species of birds and insects. 75 species of birds, 35 butterflies, 20 species of dragonflies, and 32 species of spiders that inhabit the 36.5 hectare large park.

I created an infographic to illustrate my research as well:

My infographic and video is an attempt to recreate the experience of visiting Tampines eco green. I chose an earthy greenish colour for the background to look like eco friendly recycled paper and a striking blue for the sketchy graphics to stand out from the dull background. The blue also represents the hidden gems in the park and what I discovered from visiting it. I chose to use sketchy drawings so it would look like a journal of somebody scribbling down their little observations. The outcome is something quite raw, just like the outlook of the park. I used sound effects to recreate the sounds I heard, like the rustling of the bushes and the flap of birds wings even though I couldn’t really see where the sound was coming from.

All in all, it was a really fun exploring this side of Singapore and learning what it had to offer, even if it were the little things that made it unique.

PROCESS

For my zine, I intended it to be a personal experience of the place through primary and secondary research.

I wanted to have a slightly sinister and ironic feel to my zine to show the dark side of Tampines Eco Green.

Here are some pictures I took that were used in my zine:

 

First Draft: Extracting and thresholding images from the park

I used red, blue and yellow as primary colours on a cream background. Three colours represents three different sides to the park I wanted to show.

Front & back: I turned both the map and the logo of TEG in three directions to use for my front and back cover.

Feedback: Front is too messy, can’t make out what it is.

Page 2-3: Abstraction of warning signages and wildlife, trail manners and rebellion.

Feedback: Signs too much like a pattern, try integrating into the forest.

Page 4-5: Abstraction of toilet signs and eco aspects of the park such as toilet, bird hide and chairs. (Location where paedophile molested boy)

Feedback: Arrows from from diagram are distracting because of directions, and too much text, extract more.

Page 6-7: People visiting the park and what they do there, impact of man on nature.

Feedback: Too much space on left, too little on right, right too cluttered.

After revisions, this is what I came up with:

FINAL

Final zine
Front and back cover

Left: Image of looming sky of TEG to foreshadow a dark theme. The blue map of the park is also warped.

Right: End page of TEG signs inside out in three colours to show three aspects of the park that we explore in the zine

Page 2-3

Left: Multicoloured warning signages of don’ts: ‘No smoking’, ‘No feeding animals’ etc. on linear path emulating the path in park

Right: B&W image of park and blue words to inform public of the park not being lit at night. Filled in yellow sunset to signal night approaching. Extraction of signages in red acting as people performing rebellious acts in the pond, doing everything the signs said they shouldn’t.

Page 4-5

Full page spread: Eco benches, red text and arrows directing the eye to eco-toilet. System drawing of yellow toilet represented through the bench. Man made structures are blue to signal man’s stark impact on the park. Leads in to story on next page.

Page 6-7

Left: B&W photo of leaves with extracted elements of visitors in yellow hidden in the leaves to represent the sparsity of visitors: $2 note represents paedophile who molested boy, bicycle for the kids that ride through, thresholded bird watcher I interviewed, jogger and Instagram girl.

Right: Constructed shelter in red with elderly under, separate from the raw untouched nature on the left, blue words of the sexual assault ringing around them like a stain, tainting the park.

 

Gallery – Melo’s Sem 2

1 Jobs I would never have by Melodie Edith James is a self exploration of flaws and the portrayal of personal anecdotes through 4 panels of vector illustrations that have hidden letterforms.

 

2 Tampines Eco Green by Melodie Edith James is an experiential take on the unique nature spot of TEG through a series of infographics, a video and 8 page zine.

Infographic for Tampines Eco Green

TEG Zine – Back and Front
Page 1-2
Page 3-4
Page 5-6

Project 1 – Imaging Making (Research, Process & Final)

RESEARCH

I started out this project with isometric vectors in mind. It was a style I hadn’t explored before and the idea of hiding text within isometrics appealed to me.

I looked at some modern isometric vector graphics from pinterest. Here is one I found that used the shapes of objects to create a block-like letterform.

 

I also looked at Ryo Takemasa’s vector illustrations of landscapes. I enjoyed the texture and colours he used and how his shapes interacted with each other. He also adds a rough, sandy texture to his vectors to give a muted and stamped effect which I really liked. There is also lot of negative space and the use of visual hierarchy in his illustrations.

PROCESS

My concept was to choose 4 jobs I would be really bad at and represent them with the objects that the job concerns.

· Scientist

· Lost-and-found receptionist

· Housewife

· Gym trainer

 

1 Scientist

I chose scientist because I suck at science. I think its horribly difficult to remember the terms for internal bodily processes and how everything works. I have the tendency to ask strange and illogical questions too, to the point my father calls me ‘scientist’ ironically.

Following my first artist reference, I did a draft by creating an obvious letter D shaped as a microscope with bacteria like vectors surrounding it but I didn’t like how the letterform dominated the image.

Joy suggested I could incorporate the letterforms more into the bacteria and let it interact with the central object, like how Ryo did his with landscapes. I chose to bacteria to show my letter9forms because of its negative connotations and how the organic shapes of the bacteria can morph to create the letters of my name: MELODIE.

The microscope is the main D, with o in the eyepiece and E in the magnifying lenses. The bacteria seeping out of it is M and all around it are the other letters like e, O and L are repeated in the bacteria around it. This is my process:

 

2  Lost-and-found receptionist

I am a loser because I lose things like crazy. I’ve lost quite a few items ever since entering ADM: Freshmen Orientation hoodie, AJAYS-five earpiece, matriculation card, NETS card & hard drive with all my work in it (update: i found it!!).  Being a lost and found receptionist would be the last job I choose because I’d probably lose the found items too. 

To illustrate this idea, I decided to incorporate the letter forms in the items that I’ve lost, with an empty lost-and-found tray as the central object. It would act as a letter D in the center, while the other letterforms would be around it in the lost items.

At first, I used a coloured-scheme to represent the objects, but later on, I realised a monochromatic red scheme would emphasise the seriousness of my lost items, especially with striking red.

I used the earpiece control buttons to show the letter ‘O’ since the natural button shape is already an O. Letter ‘M’ is represented in the usb sign, ‘e’ is in the tangle of the hoodie drawstrings, ‘L’ is in the implied lines of the earpiece on the bottom right and ‘i’ is in the earpiece on the left side of the image.

 

3 Housewife

Housewives have a certain set of skills to do their mini jobs like cleaning the house, making sure the chicken isn’t rotten, watering the cactus just right, and not overspending. In my illustration, I represent everything going wrong for this housewife. 

I chose blueish green as the background to emulate the dishwashing detergent-like hygienic colour. In the first image you can see the grid I used to keep the coloured object in isometric perspective.

The red vacuum cleaner spells ‘m’ with the curve of its tube and ‘d’ with its wheel and body. The letterforms can be see in the elements surrounding the vacuum: ‘E’ in the drips from the rotting meat and ‘L’ in the flies emerging from it, ‘o’ in the symbol on the dollar symbol.

 

4 Gym trainer

I have a $157/month membership with Fitness First gyms and it’s practically wasting away. I barely have the time to go and when I do, my gym bud and I will either get distracted by the shopping in the mall or spend more time in their pool and sauna facility. The only machine we use is the treadmill because we don’t do weights. Most of the time, we get frozen yogurt after our gym sessions and put back the calories we burned. 

I chose a yellow background with bright colours around to give a summery look because we began our membership in the summer break when we were free. The central object is a treadmill and the letterforms are also in the luxury items surrounding it.

My central object spells a ‘D’ with the belt of the treadmill. The treadmill handles and display also form a letter ‘E’ with its natural structure. On top, the shopping bags imply a letter ‘M’ with 3 bags and the curve of their handles. The strawberry is dripping with the letter ‘E’ and the yogurt tubs spell ‘O’. Lastly, the lines on the swimming pool spell out the letter ‘L’.

 

Overall, I really enjoyed working with isometric vectors for this project and stepping out of my comfort zone. From Joy and my classmates’ comments (thanks fr all of them), what they enjoyed were the stories behind the illustrations but I could do better in making the letterforms more visible and emphasised.

 

FINAL

These are the final outcomes.

My name is Melodie and I am a scientist.
My name is Melodie and I am a lost-and-found receptionist.
My name is Melodie and I am a housewife.
My name is Melodie and I am a gym trainer.

Final Project: Idle

IDLE – an interactive performance

My team, consisting of Kai, Si Qi, Desmond and I, planned to create an interactive performance set completely in IKEA. The idea stemmed from the location’s versatility, and the fact that there were many showrooms in the building that we could use to our advantage to blur the lines between reality and fiction. We would create a storyline with the different rooms and enhance the realness of it with Instagram live.

We created Instagram accounts for our performance and posted these two pictures to brief our participants on the rules and how to play before they participated.

 

We wanted to include the culture of doing-it-with-others in our performance. That is why we chose the act of saving lives as the goal for our players.

We also wanted to blur the lines between artist and audience and with our participatory performers, the audience would be performers too.

Idle was designed to be in the format of a game, where players had control over what the victims do.

The format of our performance and the medium we used gave room for error and glitches, whether technical or organic.

 

These glitches could function as disadvantages or advantages to the performance, creating that unexpected element when we decide how to respond to them.

 

We referenced Blast Theory as our main artist inspiration. I’d Hide you was one of their online games that we drew insight from.

The main idea for I’d Hide you was to embrace the thrill of being in a whole new world through the third space where they had control over their destinies.

The game consists of players guiding 3 hosts on the ground to get a shot of each other on camera. Each host would have a camera that live streamed everything they saw and heard. The objective of the game for the players was to guid host that they choose toward other hosts.

Similar to I’d Hide You, IDLE gets online participants to jump from different livestreams to guide a person who is physically in the space. IDLE aims to immerse its audience in a world that we created in the third space and for them to create/uncover events within that world.


To start off, we took on a room each, as shown below, using four IKEA showrooms to carry out our performance in.

Kai, Si Qi and I went down to IKEA three times to location recce and plan the clues for our performance. We had ice cream and meatballs every time.

These are the four rooms we chose:

After settling the rooms we could use, we held a test run with our friends using one bedroom and figured out some issues. Here is the breakdown:

Here is a video of our test, password: behindthescenes.

A week later, after confirming our players and working out what we had to change, we had our actual run with all four rooms.


Here is the trailer we created after the run:

There were quite a few points that we observed about the actual run.

First, we noticed there were three main types of participants.


We also experienced a few challenges that we learned to embrace as glitches.

On the actual day, we acted spontaneously and decided to burn the kitchen down in order to add to our story. It would give reason to the 30 minute time limit to solve the puzzle and save the victims.

Firstly, Kai who was in the study room, lost connection halfway and had to end the live video. Using this mishap as another dimension to our story, we told Kai to let the participants know that she blacked out because of the smoke.

Secondly, we experienced an extreme lag during the insta story which led to some miscommunication between audience and artist. However, this gave an extra point of contact for the audience which caused them to interact more closely with each other.

Thirdly, there were some customers that entered the showroom and disrupted the gameplay. However, this served to remind the audience and us that this was not an actual room and further blurred the lines between reality and fiction.

Fourth, getting confirmed participants was a challenge for us as we were still finding people on the day itself to participate. Since we did not have any incentives, not many people were willing to commit to the performance. This helped us create a more close knit community within our participants.

Lastly, we had players who did not comply or bother to read the rules, which led to a lot of confusion in the gameplay. This too bonded both artist and audience.

On hindsight, some things we thought we could improve were making the clues interconnected between rooms to create a more complex and intriguing gameplay.

We could also have concised the instruction list into one and added incentives to gather more people to participate in the performance.

Overall, it was a special experience to be able to organise a participatory performance in public and create something out of it. I think the unexpectedness of the whole performance brought about a thrilling and exciting element to it. I think we were all surprised at how both we and the audience responded to the glitches and unexpected events that popped up. It was interesting to see how everything turned out in the end and how little things could cause drastic improvements in how the game was played out. It opened my mind to the embracing of the glitch and how it can, more often than not, be a blessing in disguise.

 

Rube Goldberg Machine: Pastel Pollock

RESEARCH

My partner (AJ) and I decided to make a Jackson Pollock inspired Rube Goldberg machine. We thought the dripping/splashing of paint was a fun concept to explore.

Ink splats and drizzles of paint are common characteristics of a Pollock painting, achieved by dripping and whacking paint onto a canvas.

We chose Pollock’s Autumn Rhythm and Number One, Lavender Mist as paintings that we wanted to emulate.

Accessed from Metropolitan Museum of Art

Accessed from Jackson Pollock Organization

One of the reasons why we chose these paintings was because they require only 2-3 colours to make. Our end goal was thus to produce a dualtone painting with our Rube Goldberg machine.

The strokes and drips have a random, raw feel to them, which was easier to emulate since we had to create them from mechanisms in our machine.

We watched a few videos of existing Rube Goldberg machines, from simple school projects to crazy OKGO music videos, and began our ideating process.

PROCESS

We had a few initial plans:

  • Spray Bottle to spray on canvas
  • Balloon to pop and drip onto canvas
  • Bicycle wheel with paintbrushes attached to paint on canvas

After testing we realised that most of these methods would end up with a large splat instead of drips.

Later on, we drew references from rubber band catapult and rubber band boat mechanisms as our main structures. The rubber band release would  generate kinetic energy and give us the torque required to flick paint onto canvas.

Rubber band catapult mechanism

This is our initial sketch plan for the machine. On the left, we explored the use of wheels with brushes attached to them. We also researched on pulley systems and conveyer belts.

Initial sketch of Goldberg Machine plan

The class’ feedback was that the spray bottle might be a bit hard to activate plus it might not really resemble a pollock machine.

The balloon apparently isn’t as easy to pop with a needle attached to cardboard and suggested to use water balloons instead as they were thinner.

The bicycle wheel would need a huge amount of force to activate and wasn’t very feasible as well.

We also tested out the effect of a brush dipped in paint, falling and stopping above a canvas. The consistency of the paint didn’t allow for much drips so we scraped this idea.

Testing paintbrush dropping paint (fail)

We also tried using string to release a simple flap mechanism that would release paint onto the canvas below. We didn’t use it in the end because the mechanism was too bulky.

Testing out string dropping paint mechanism

Finally, we built the rubber band catapult mechanism prototype with chopsticks and attached a ramp outside of the scaffolding to activate the catapult. This is us testing it out the torque of the flip with the cap of a super glue tube. Here are our sketches.

Sketch of ramp

In the gif below, you can see AJ testing out the torque of the catapult with the cap of a super glue tube. One problem we faced was that the weight was not heavy enough to pull the string attached to the wooden rod out of the latch.

Testing out torque on catapult

This is us testing the direction of the force with a twistie. Clearly, we were quite impressed with it.

Testing aiming accuracy of catapult with a twistie

Next, we tested out the speed of balls on different ramps.

Testing out ramp movements with a ball

Then, we built the final structure with wooden dowels, binding them together with AJ’s army tying method.

Square lashing used for perpendicular rods, one of the more secure methods of joining two rods.

Diagonal lashing for wooden rods meeting at an angle.

Sheer lashing, useful for connecting two rods/chopsticks together if the the usual length is not adequate.

Clove hitch to secure a piece of twine on one rod, leading to the lashings.

The scaffolding aided us in attaching ramps and accessories to transport the marble. It was easy to add/subtract sticks to it to cater to what needed to be attached.

Expensive wooden dowels from art friend

We decided to go for a pastel themed structure so the bright paint would stand out from it. We chose to spray paint this one baby pink.

We and tested out the machine with paint of the right viscosity. The paint splatter was very satisfactory.

Final built machine with paint splatter

We decided to splatter the paint on two separate pieces of acrylic so we could create a layered Pollock inspired art piece with the machine splatter results.

Final structure part 1

Following that, we continued to build the rubber band boat mechanism for part two of the machine.

Buyin tubing from a mama shop

We spray painted this mechanism lavender. The turn of the turbine gave a splatter effect which was just the kind we wanted to contrast with the drips of the catapult mechanism.

Final rubber band boat mechanism

We wanted to attach minor elements like tubes, lightbulbs and a pulley system that would activate the turbine. Here are our sketches for the tubing.

Sketch of tubing

We used the tubing to transport a marble to the switch that would light up the bulb. The gifs below show us testing out the accuracy of the marble falling onto the switch.

Marble activating the switch
Testing out the lightbulb

FINAL

Here is the final product sketched and photographed.

Final sketch
Pastel Pollock, 2018
Two parts of the machine with acrylic intact
Final splattered acrylics

And here is the final machine compiled into a little one minute video.

Password: bollocks

 

Research Critique III

For micro project five, the art of destruction, my team (Fred, Teri, Jia Ying and me) destroyed a bunch of styrofoam blocks with a heat gun.

Rosa Menkman states in The Glitch Studies Manifesto:

As an artist, I find catharsis in disintegration, ruptures and cracks. I manipulate, bend and break any medium towards the point where it becomes something new. This is what I call glitch art.” 

Likewise in our project, we embrace discarded and incomplete pieces of art and created something new through the act of destruction. There were different stages of the destruction and at each stage we observed the change in the blocks and how textures were formed on the surface of the block.

Styrofoam blocks before the destruction
1st stage of destruction
2nd stage of destruction

It was a satisfying experience to watch the foam break down into nothing. We heated the foam until  we ended up with a few coral like scraps. There was some beauty in what the discarded blocks which had become a whole new piece of work.

Final outcome of destruction

With the embracing of the glitch, even discards can be considered art. In an interview with Randall Packer and Jon Cates, they also discussed the embracing of imperfections and the idea of “dirty new media”.

“They are not sterile, they’re imperfect, they are not clean, because they exist in the world, which is also imperfect. And so, I do believe that dirty new media as a way of life and as an approach to art making is a way of foregrounding these facts, these realities, of our lived experiences, and acknowledging how situated we are with all of these systems, and artifacts.” – Jon Cates

I guess “dirty new media” is a way to stay true and raw. It strips away all gimmicks and focuses on a single subject matter to drive a point home.

Take for example, Media Burn (1975) by Ant Farm, who staged an explosive collision of two of America’s most potent cultural symbols: the automobile and television. In this alternative Bicentennial celebration, a reconstructed 1959 El Dorado Cadillac convertible was driven through a wall of burning TV sets. The work addressed the pervasive presence of television in everyday life, affronting the same media they had invited to cover the event.

With works like these, we raise the question of “what really is art?”. In this new age of acceptance and open mindedness, glitch art is appropriate when exploring challenging and bold themes like these. Glitch art then becomes more of a method of artistic expression, especially when the artist has a message to convey.

 

Art of the Networked Practice Hyperessay

Social Broadcasting: An Unfinished Communications Revolution

Participating in the online symposium Art of the Networked Practice opened my eyes to the connectedness of creative dialogue and art in telematic space. It was structured like a lecture with a few speakers leading the talk.

Randall Packer introducing Maria X at the symposium, Day 1

As a millennium who practically lives in the third space, being part of the symposium was a comfortable and familiar feeling, though it was my first time going live with such a large group of people. This was not so for the group of older participants. It seemed as though they were extremely excited to have had just discovered the existence of live video chat. But, after two days of talks and performances, I understand there is good reason for this zeal.

Enthusiastic participants in the chatroom

What was interesting about the format of this symposium was that it allowed the audience to comment in real time. It was kind of strange because each comment would be seen by everyone in the chatroom, including the speakers, which made the audiences’ voice almost level with that of the speakers’ and performers’. This setting was different from a traditional lecture where you would whisper to your friend instead of announcing it to the entire hall. Perhaps because people are more inclined to type instead of speaking out loud, the participants did not hold back their comments in the chatroom, making the entire symposium feel informal and candid, creating an interactive, networked space. This effect of interconnectivity between the audience and the performer was probably intentional as it encompasses the entire theme of the symposium.

Participants responding to a performance in the chatroom on day three

Dr. Maria Chatzichristodoulou or Maria X, Associate Professor in Performance and New Media at London South Bank University (LSBU), who is also a curator, producer, performer, writer and community organiser, was one of the key people who shared about the idea of telematic practice at the symposium.

Screenshot of Maria Chatzichristodoulou speaking during the symposium

Maria mentioned live telematic practice, which she also emphasises in her article Cyberformance:

“Its being ‘live’ entails that performance ‘dies’ with its own enactment. Every single moment of a theatrical experience is entwined with the loss of a specific and unique relational experience that cannot be preserved or reproduced exactly so. – Maria X on Cyberformance

In addition to the temporality of a live performance, its live audience also adds to the value of such telematic practice. Maria X discussed many performance art pieces during the symposium. One of them was Telematic Dreaming (1993) by Paul Sermon, a live performance consisting of two people bouncing off each other’s projected interactions on separate beds. It was an improvisation in the moment that could not be replicated in the same way. Likewise, the performances we witnessed during the symposium could not be replicated exactly, making them each unique pieces of work.

Still from Telematic Dreaming, 1993 by Paul Sermon

“Entanglement” by Annie Abrahams involved 6-7 individuals and was made unique by improvisation and how they observed each others actions and responded or reacted to them live. Furthermore, the response in the comment section, whether positive or negative, would affect the artists’ performances subconsciously. Although it may look like a weird conference call of people playing with household items and fingers, the ideas and intentions behind the interactions is what brings depth to the performance and makes it unique.

Screenshot of Cyberperformance Day 1

Screenshot of Cyberformance Day 1

The symposium taught me to embrace the candid, especially in an interface like Adobe Connect, where there is so much room for glitches to occur. Throughout the three days, we experienced multiple glitches, right from the get go with Maria’s inability to hear any of the other speakers. The audience improvised by telling her what was going on in the chatroom and she could communicate because of that. In a way, the glitch in the audio increased the interactivity of the audience and speaker. I realise that interactions are hinged upon improvisation and we are able to increase connectivity in people by embracing the glitch, just like how both performers and audiences did in the symposium. Especially in the third space, where physical human intimacy is lacking, the connectedness of creative dialogue and art in telematic space can still be made possible.

Micro-project 7: Bedroom Performance

My alter ego is a bedroom performer. I am jiving to Clairo, whose music video titled ‘Pretty Girl‘ is the inspiration for this video selfie.

Password: bedroom

Clairo is one of many young ‘bedroom’ or ‘dream pop’ artists, including the likes of Frank Ocean, Gus Dapperton etc. who make lo-fi music.

“My TV ain’t HD, that’s too real.” – Frank Ocean

The common goal is to produce minimal music with no frills and containing low-bitrate samples.

Clairo has a low maintenance YouTube channel where she posted a low res webcam video of her in her bedroom mouthing the lyrics and lazy dancing to an original song she wrote. She had no makeup on, greasy hair and a messy background. She played with silly glasses and ugly toys while mouthing the lyrics. The video was grainy and the audio was distorted, and everyone loved it.

By recording my video selfie with Photo Booth, I could alter my identity to take some form of Clairo’s. In the video, I am me, portraying elements of someone else. Like Clairo, I went barefaced with a towel headband, messy room in the background. The overexposed sleeping cat on the bed was unintentional but adds to how I am different from her, despite trying to imitate her video.

In a way, my identity is concealed because I am not speaking in the video. My voice and speech mannerisms, which are part of my identity, are concealed from the audience. The low res video and grain does not give an accurate portrayal of my physical features and environment.

The video is extremely grainy as the Photo Booth camera does not work well in low light. I have a few unsightly props – reflective sunglasses and an ugly pink toy. These items are similar to the ones Clairo uses in her video, but they are my version of those things, which shows some personality of mine.

We have a lot of control over portraying our alter identity, yet so little because of our current identities will still peek through in some ways that are uniquely us.